As with conflict, environment is totally under the control of the writer and is every bit as complex. It is also infinite in the range of types. To put the tin lid on this area, there are levels that vary in size and importance to the story.
When a tale is under construction, the initial site of action is linked closely to the story. These sites could be a forest, caves, a cityscape, a rural village or urban sprawl - in other words, almost anything - but within that there will be smaller sites of action that are significant.
This is where personal experiences may be a source for such places.
For example, a launderette. This was something I experienced many years ago. So picture a quiet Sunday morning in the slightly damp, steamy atmosphere of such a place. There are two male customers sitting in different parts of the shop. They don't know each other and are not talking; one, in fact, is reading a book. The noise of the washing machines and tumble dryers would have precluded conversation held at normal levels.
The street door bursts open, and a young man runs into the shop, charges across to the customer not reading, attacks him violently, and when the victim is on the floor unconscious, the attacker runs out just as quickly as he arrived.
No words had been exchanged, and the incident lasted less than a minute. When it was over, the reader left the shop.
A true story, but adaptable to fit in a variety of stories. As we travel through life, incidents occur, and we need to store these happenings for future use. Of course, the type of story you are writing dictates the nature of the environments you decide to employ. The description of the site of action adds to the fabric of the work you are producing.
It is obvious to state that the description produced needs to be constructed carefully and not just a vehicle for wordy paragraphs where we indulge ourselves. It is always important to engage audiences.
God Bless
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